What model Oahu squareneck do I have here?

[Glenn Wilde]

I decided that I would like to tune the guitar to G-Tuning. That way I can still follow along with some instructional materials that I have. Would a standard light gauge (12-53) acoustic set be alright for this? Although, the trebles seem a bit light, I already have some of these sets on hand. Otherwise, it looks like John Pearse makes a High Bass "G" tuning set D B G D B G [to bass] - .015, .018, .027, .036, .042, .052.. Maybe those would be a better option? Would the John Pearse set be light enough?

You can run those Pearse strings, regular lights will not be good, that 12 will be awful. Just keep an eye on it, you will know if it's too much for it then you can either tune down to F orF# or lighten up. These are lightly ladder braced guitars with no cross braces at the sound hole, any bellying will show there. I actually thought about beefing up the bracing a bit, but it's been stable in D with the strings I have on it ( made up set)

[Ryan Matzen]

This is the Oahu I started on many eons ago.
Erv

That’s cool! I like the decal!

[Ryan Matzen]

I decided that I would like to tune the guitar to G-Tuning. That way I can still follow along with some instructional materials that I have. Would a standard light gauge (12-53) acoustic set be alright for this? Although, the trebles seem a bit light, I already have some of these sets on hand. Otherwise, it looks like John Pearse makes a High Bass "G" tuning set D B G D B G [to bass] - .015, .018, .027, .036, .042, .052.. Maybe those would be a better option? Would the John Pearse set be light enough?

You can run those Pearse strings, regular lights will not be good, that 12 will be awful. Just keep an eye on it, you will know if it's too much for it then you can either tune down to F orF# or lighten up. These are lightly ladder braced guitars with no cross braces at the sound hole, any bellying will show there.

Thanks. The Weissenborn sets are thicker gauges than I expected them to be.

I got the guitar this morning. It appears to have a set of 12’s on it right now. Unfortunately, the replacement tuner button disintegrated while I was trying to tune it. It was the wrong kind of button for these tuners. It’s walls were too thin and couldn’t take the torque. So, now I’ll be ordering some new buttons from Elderly.

[Steve Lipsey]

https://tension.stringjoy.com
check out your tension, add it up, decide what you are willing to risk overall...lots of opinions on that...my memory (often faulty) suggests 160 lbs for vintage weissenborns, 190 for newer ones, 210 or so for dobros..
Anybody have better thoughts on typical tension?

[Ryan Matzen]

https://tension.stringjoy.com
check out your tension, add it up, decide what you are willing to risk overall...lots of opinions on that...my memory (often faulty) suggests 160 lbs for vintage weissenborns, 190 for newer ones, 210 or so for dobros..
Anybody have better thoughts on typical tension?

I guess that my main issue is finding out what an acceptable tension would be. At least a ballpark to start with. 160lbs seems to sound about right to me. I will dig around a little more online.

[Ryan Matzen]

John Pearse Weissenborn 3110 "G" Tuning Heavy: .017, .019, .027, .045, .054, .062
John Pearse Weissenborn 3120L "G" Tuning: 015, .018, .024, .039, .047, .058

I have a few sets of John Pearse Resophonic 3100 “G” Tuning which are: .016, .018, .027, .039, .049, .059 But, I was thinking that they would be way too heavy. Maybe I was wrong? I can’t seem to find string tension charts for JP strings. I suppose a chart from another company would give me an acceptable estimate. Although, I completely forgot that I did try some D’Addario Resophonic EJ42: .016, .018, .028, .035, .045, .056 and they seemed like they were going to be too heavy. So, I didn’t tune them up all the way. And, took them off. That being said, I seem to remember thinking that in the past, D’Addario strings seemed stiffer to me than John Pearse strings.

When I enter any of the values of the previous strings sets into the StringJoy tension calculator, I get unacceptably high tensions?

The closest that I can get with a packaged set is with D’Addario EJ24: .013, .017, .024, 032, 042, 056 But, these still come in a tad bit high on the calculator:

[Glenn Wilde]

John Pearse Weissenborn 3110 "G" Tuning Heavy: .017, .019, .027, .045, .054, .062
John Pearse Weissenborn 3120L "G" Tuning: 015, .018, .024, .039, .047, .058

I have a few sets of John Pearse Resophonic 3100 “G” Tuning which are: .016, .018, .027, .039, .049, .059 But, I was thinking that they would be way too heavy. Maybe I was wrong? I can’t seem to find string tension charts for JP strings. I suppose a chart from another company would give me an acceptable estimate. Although, I completely forgot that I did try some D’Addario Resophonic EJ42: .016, .018, .028, .035, .045, .056 and they seemed like they were going to be too heavy. So, I didn’t tune them up all the way. And, took them off. That being said, I seem to remember thinking that in the past, D’Addario strings seemed stiffer to me than John Pearse strings.

When I enter any of the values of the previous strings sets into the StringJoy tension calculator, I get unacceptably high tensions?

I have most of a light D'addario set on mine with a ,016 and .014 for the skinny strings tuned to D and it works fine. Take that reso set and ditch the 56, move them all up and put a .014 on top.

[Ryan Matzen]

John Pearse Weissenborn 3110 "G" Tuning Heavy: .017, .019, .027, .045, .054, .062
John Pearse Weissenborn 3120L "G" Tuning: 015, .018, .024, .039, .047, .058

I have a few sets of John Pearse Resophonic 3100 “G” Tuning which are: .016, .018, .027, .039, .049, .059 But, I was thinking that they would be way too heavy. Maybe I was wrong? I can’t seem to find string tension charts for JP strings. I suppose a chart from another company would give me an acceptable estimate. Although, I completely forgot that I did try some D’Addario Resophonic EJ42: .016, .018, .028, .035, .045, .056 and they seemed like they were going to be too heavy. So, I didn’t tune them up all the way. And, took them off. That being said, I seem to remember thinking that in the past, D’Addario strings seemed stiffer to me than John Pearse strings.

When I enter any of the values of the previous strings sets into the StringJoy tension calculator, I get unacceptably high tensions?

I have most of a light D'addario set on mine with a ,016 and .014 for the skinny strings tuned to D and it works fine. Take that reso set and ditch the 56, move them all up and put a .014 on top.

That seems like it would work. I was just hoping that I wouldn’t have to buy any single strings.

[Tim Toberer]

That is a model 66k and is surely from the '30s, I have one just like it, I also have it's smaller sibling, the 65k. These are very lightly built and should be treated just like an old Weissenborn as far as string tension goes. In my opinion these old Oahu professional models are some of the only bargains left in vintage guitars.

The dark sunburst finishes developed in the 1930's are my personal favorite. These are stunning guitars! I haven't seen that electric and I am more than a little jealous

I have been watching for a Harmony Vogue for a while now, and am about to give up. This one also came in a few body styles.

[Ryan Matzen]

That’s cool. It reminds me of a 30’s Gibson that I used to have. It had the same very dark sunburst and firestripe pickguard. I always wondered about the quality of woods used on the dark sunburst guitars. They could easily get away with hiding some less desirable wood choices.

[Tim Toberer]

I am pretty sure these models are birch on birch with faux spruce grain painted on the top. Similar to the lower end Oahu models. Some may have real spruce top? The 14 fret round neck version has a real spruce top and has a Gibson L-00 vibe. The Hawaiian models seem to be inspired by the Gibson Roy Smeck guitars. I find birch, while cheap is still a really wonderful top wood especially for slide guitar. The professional models are surely the higher end with solid mahogany and real (not painted ) binding. I just have a thing for the cheap old Chicago made guitars. The Vogue models seem more rare than the Professional models, but are still more affordable (or should be). I have never seen one for sale that still had the original square neck.

[Noah Miller]

No major manufacturer painted faux-spruce grain. A few did fake maple "figuring" and some did faux-rosewood or mahogany dyes, but if it looks anything like spruce, it's because it's spruce.

[Tim Toberer]

No major manufacturer painted faux-spruce grain

I have never had one of these in my hands so I can't say with authority. I said this based on info from the Harmony Demont database, which is no longer complete sadly. The Vogue models are no longer in the database, at least I don't see them. There used to be some great photos of some pretty rare models and in the pictures the grain kinda looked fake and also listed the materials as faux spruce and birch. I would actually prefer spruce, but faux spruce birch would be (hilariously) cool as well. A portion of it is preserved here. Anyone out there have one?? Could put this to rest. https://web.archive.org/web/20200206055 ... 327/63.htm

I should have pulled the trigger on this one. I saw it go on shopgoodwill for nothing. Of course my wife talked me out of buying it It has a little crack near the top of the pickguard that makes me think this is the same one. Also the same poorly carved neck. Haven't seen another one since. I can't quite make out the top grain in the pictures. This looks like the mini dreadnought body which I believe the Harmolin shared and later the classical guitars.
https://reverb.com/item/10606836-1940-h ... ian-guitar

[Glenn Wilde]

That is a model 66k and is surely from the '30s, I have one just like it, I also have it's smaller sibling, the 65k. These are very lightly built and should be treated just like an old Weissenborn as far as string tension goes. In my opinion these old Oahu professional models are some of the only bargains left in vintage guitars.

The dark sunburst finishes developed in the 1930's are my personal favorite. These are stunning guitars! I haven't seen that electric and I am more than a little jealous

I have been watching for a Harmony Vogue for a while now, and am about to give up. This one also came in a few body styles.

thanks, not a Vogue but a very similar big body Harmony in beautiful shape, I just saw it today. If you look close you can see it's S40 stamp in the sound hole.
https://reverb.com/item/55899339-supert ... squareneck

[Tim Toberer]

thanks, not a Vogue but a very similar big body Harmony in beautiful shape, I just saw it today. If you look close you can see it's S40 stamp in the sound hole.
https://reverb.com/item/55899339-supert ... squareneck

Thanks, that is a beauty!
I am starting a new thread on Harmony Vogue guitars If anyone wants to comment on this. Just trying to be considerate
https://bb.steelguitarforum.com/posting ... topic&f=13

[Tim Toberer]

What is the scale length of the Oahu 66k and 65K? The Harmony guitars usually have a 24 1/4," which seems about perfect imho. This also decreases the tension on the top compared to something over 25" considering the light build of most of these guitars.

[Ryan Matzen]

What is the scale length of the Oahu 66k and 65K? The Harmony guitars usually have a 24 1/4," which seems about perfect imho. This also decreases the tension on the top compared to something over 25" considering the light build of most of these guitars.

I just measured mine and it has a scale length of 25”. The shop that I got it from had told me it was 25 1/2”. Since I have a compensated saddle, the length from the nut to the saddle where the lowest string sits is 25”. The measurement from the nut to the 12th fret is 12 1/2”.

[Ryan Matzen]

I just received and installed the brass PlateMate. It over hangs the back of the bridge plate a little. But, it seems to be doing what it should. The guitar does seem to sound better and louder. Just for kicks, I tuned it up to Highbass A-Tuning using a set of .010 gauge electric guitar strings. The guitar doesn’t seem to mind. And, it doesn’t sound half bad. I am actually pretty amazed at how decent such a thin set of strings sound. I don’t have a bullet bar on hand. So, I have been using a tarnished thin walled brass slide. I am sure the sound would only be better with a bullet. I am now going to theow some acoustic strings and tune it to G B D G B D. Hopefully, it will sound good there as well. Thanks for everybody’s help and input!

[Tim Toberer]

After I do a little work on the bridge, I will throw on some acoustic strings and tune it to G B D G B D. Hopefully, it will sound good there as well. Thanks for everybody’s help and input!

Congrats on the new guitar! I think I am headed in a very similar direction.

[Glenn Wilde]

Right on I'm happy with the plate mate too, the alternative is pretty bleak so, it's a good bandaid. Shoot maybe it's a permanent fix, we'll see.

[Ryan Matzen]

Right on I'm happy with the plate mate too, the alternative is pretty bleak so, it's a good bandaid. Shoot maybe it's a permanent fix, we'll see.

Mine is a permanent fix. I definitely do not want to replace the bridge plate. It spans the whole top of the guitar. Unfortunately, while tuning the guitar, the replacement tuner button (that I believe the shop put on) disintegrated. Luckily, I thought that might happen. And, Had already ordered a replacement.

[Tim Toberer]

https://www.ebay.com/itm/265976129333
This guy just popped up on Ebay. This one appears to be in really nice condition!

[Ryan Matzen]

https://www.ebay.com/itm/265976129333
This guy just popped up on Ebay. This one appears to be in really nice condition!

I wonder why they slapped that Cordoba rosette sticker around the soundhole?

Also, it looks as though the bridge is taking pieces of the top with it as it is pulling away.

[Tim Toberer]

Good eye! I didn't look that close. Of course with any vintage guitar you can expect some issues. I see a crack in the lower bout also. Not bad for guitar close to 90 years old though.

[Ryan Matzen]

I just scored another 1930’s 66K. I traded an acquaintance a couple of microphones for it. This one has a couple of repaired cracks, some finish loss in two areas, and the usual scratches and dings. And, get this, it already has a PlateMate installed. I just strung it up with D’Addario Resonator strings, and tuned it to open D. This particular guitar just resonates! And, it has crazy sustain! This leads me to a question… I had originally left the metal nut riser on this guitar. Then, I took it off to see if I could tell any difference at all. I had assumed that with more direct string contact, that it would sound better without the riser. Now, I am not to sure. Anybody have opinions on this? I am also wondering why most of theses guitars seem to have nut risers even though they came with high nuts?